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Part 12: The Clock Strikes Twelve, Repeatedly  : I'm right here, you twat. : He'll come. : He was going to be back here at four. Now it's almost nine.: We don't even have the date for this scene, so I can't see why time is an issue.: Perhaps he got held up.  : Then what?: Bernard! Oh, thank God. You finally made it.: What took so long?: Sorry. There were a couple of problems.: Oh. What kind of problems? : WHAT?: Oh great. : Look at these expressive postures!: It's just little things. A photo has moved. The newspaper too.: Is anything missing?: I didn't notice anything.: Hmm. Sounds like one of McBride's stories. Perhaps his paranoid ramblings are contagious. But the question is, what if it's true?: Was Jack breaking into the artist's studio as well while we weren't looking?: If that was the police, they would have waited for us. Then Bernie wouldn't be here now.: That's all well and good, but what now?: We do what we planned to do. Then we go back and have a look at the loft together. Agreed?: Going back to the loft with a painting they stole is a great idea.: Agreed.: (keeps quiet): Don't forget your stuff. Got everything? : Why, yes. The game titled 15 Days just skipped from the 8th to the evening of the 13th. The plot kicks from the 1st into the 5th gear and the only reason it doesn't wreck the gearbox is that the engine was never running in the first place. Also, if you look at the end of previous update, you'll see that the plan was to do this on the 14th.: Best of luck, Mike.: You too. Best of luck. Hmm. We'll hear each other soon.  : You got a signal?: I have! : Good luck! : There won't be a second round of exploration. We can warp right to the work site. : Our inventory is overflowing with stuff, such as the fake painting and the drill looking at which produces no comment. Also, yes, that's the drill Cathryn chose to penetrate a granite foundation.   : Come to think of it, the light spot is not a square. It's CRT TV-shaped. : Right, let's get to it. We have a possible hole to investigate. : Cathryn knocks on some plaster with her finger a few times. It's supposed to be granite but it sounds loud and hollow and totally is a thin plaster partition.: It's could work here.: So, how many spots do we need to check? : You're making GBS threads me... I'm not sure if it matters which holes you investigate. Cathryn always knocks twice around the centre at her eye level, producing hollow thunks of two varieties. : This is a bit better, but... : Here sounds good: That ought to be enough. : I'm going to start with the grenades now. : Nice. I can highlight the hotspots before the cutscene ends.: Hasn't started yet. Just quiet. There seem to be quite a few people about...: People we don't have to render.: All the better.: How do their phones keep working underground? Anyway, we can look at the rusted guns on the right.: Completely unusable.: What of those pipes in front of the camera?  : By the way, Bernard happens to have this.: Perfect. We'll have it in a minute. : We grab the pipes though a magic of bad animation and a fade-out. : Here's our crafting table. We start by pocketing the crowbar. : Hmm... That still looks quite sturdy.: Again, the pick up animation ends with a fade to black. Now we can open the box.: The boxes seem to be in good shape. : That's Bernard using the crowbar on the box. He is, after all, a mathematician. : Mortar grenades from the '40s. They should still be OK, right? : It looks... thoroughly rusted. Are we sure it's a good idea?: Be nice and careful with that thing.: OK. We put this rusty metal grenade into the metal vice. : And now we use our metal wrench to take the grenade apart. No need to protect Bernard from accidental sparks. : The sounds do not match "unscrewing something carefully".  : Whoa. Careful, careful. One spark and...: Now we use the open mortar round on the pipe. : Cathryn..? I've done it. I'm coming back to you.: It almost seems like "two more times" was a direction for the gameplay designers, but they misread and it became a line.Today the videos will show up as they come.   : That would be a good place.: What did Bernard use to seal his pipe bombs? : Right then, let's go...: I mean, explosives are not sentient, and if you stick them into a barely closed pipe the blast will escape through the ends.: Voilà. : Do you see the size of the "holes"? Do you see the drill? This would have taken hours and a full backpack of fresh drill bits, not to mention a proper power supply. Cathryn did it in only a few minutes.: Get going people, quick. The fireworks are just beginning.: Dammit!: Can you hear? Can you hear the music?: It's the only time I can't hear any bloody music, and I'm grateful for it.: I'm coming right now, Cathryn. : Cutscene time! Probably to signify that Bernard is indeed coming. : Yeah, they just pan over a standard scene background with a poor fireworks effect added to the bottom layer. : Hurry up. We don't have that much time.: I know. But jogging with an explosive device is a bad idea.: Just three minute, people.   : You getting there?: 20 seconds? In a tunnel? Um... Nice knowing you, guys.: One minute thirty. It's getting exciting folks. Are you ready there?: Ready. Then I'm out of here. Good luck!: And Bernard goes away like a smart person.: Thirty seconds Cathryn. Get ready.: I just hope that the ceiling holds. : Wow. Anyway, Cathryn puts an invisible thing on the floor and we fade out.: What? : Those are open pipes with cords that go into them. This can't work.: Ten seconds.: You haven't what? : Now!      : I have no clue what's going on with this explosion.  : That cellar looks familiar. Luckily, the cameras didn't spot the blast. : Everything quiet in the museum. How's it looking at your end, Cathryn?: (signal noise) : Cathryn..?: Hey. Cathryn. That's not funny, OK? : Oh god! You really gave me a fright there. : OK I'm hooking up with the computer now. : We don't have to watch out for the cameras. Just timing them was enough to render them useless. : Whoa, they actually changed the perspective for the night time shots this time around. : But only on that screen with the itchy statues. : Oh look, we're back to "evening" again.: I'm thinking about it. Give me a minute.Hurry up, I'm not crazy about getting caught by the night security guy.: Yeah, OK. I'm not a magician. : Back to "night time"! Let's use the LaserDial on the PC. Ah. This. This is a stupid puzzle. Never explained, as usual.  The idea is to click on the letters in the Edit Sequence window to make all lasers shoot straight across the room.  Like this. Easier said than done.  Each laser beam is a miscoloured jpeg laid over the image of the room. Thanks to this the screen shows only one laser at a time, while constantly switching between them. There's no "current beam" indicator on the panel. As the result, it's impossible to say whether what you see is laser #1, #2, or maybe #5.  Not all combinations work. No explanation is ever given.  This is the proper way to solve this crap.  : Cathryn sneaks in via a pointless cutscene.    : OK Bernard. Cathryn's done. Your turn. : It's evening again! : I'm tempted to use the crowbar, but this is a strictly Zippo + Firecracker situation.: My lighter.: Mike's got us a cracker here. : A window. : The fuse is lit. Now quick!: Quick get rid of it.: That's the subtitle. He really says "Quick, throw it!" There's no time limit. You can go for a stroll if you wish. Let's hit the window though.: Let's see if I can hit it!: Immediately after Bernard says that the firecracker pops, presumably in his hand. : By the way, the transition blur clips are not featured in this operation. Now it's time to switch the paintings. : Ah! : I can see her teeth! : And her mouth isn't even supposed to be open! :       : Mikey, I'll see you shortly at the catacombs. : Get in and then let's get out of here!*POLICE SIRENS* : OK! Drive!: No! The cops are over there.: (groans): poo poo. Ha! They're not after us. Of course... They're going to the museum! : Phew. That was close. You've got some nerve.: I just make like have. I was bricking it!: You're the greatest, guys. OK then: to London please.: This entire scene is some lines read over the picture of the parked van later replaced by a black screen. Great job, House of Tales.
SelenicMartian fucked around with this message at 19:04 on Dec 12, 2014 |
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Dec 12, 2014 18:59
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... They should really be dead by this point.
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Dec 12, 2014 19:51
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Oh, God. She's an auton.
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Dec 12, 2014 19:53
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What is the point of replacing the painting when you blew a hole in the basement? Leaving more evidence, just to be polite? Must be a UK thing.
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Dec 12, 2014 22:21
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No Gravitas posted:What is the point of replacing the painting when you blew a hole in the basement? Because it won't be immediately apparent that that painting is what was stolen  . At the very least it buys a little time because the cops have to go through the place to try and work out what the gently caress happened and if anything was taken.
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Dec 13, 2014 02:29
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It seems, that the next update will have over a hundred shots, but it finally brings us the best rendered cutscene of the game, and you must savour every moment of it.
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Dec 14, 2014 15:19
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Part 13: Lucky Thirteen : At least not out here.: Don't worry. There's no one there. : You go first.: Stay classy, Mike.: You can't be serious guys. Alright: I'm going in. : I just had to take a closer look at that face... : You see? No none there. Everything's fine! Welcome home.: I don't know. Something's... strange here.: Nonsense. Everything's as it should be. We'll have a close look in a minute.: No, not then. Now. : There was no one here, You know what we're gonna do now? We're gonna have a drink! We've done it again people! : Where are you? Bernard? Mike? : What's wrong? : DUN DUN DUUUN! Oh wait, we already know that. : The business card from my monitor. It was from my boss at Megabase. : No. I haven't lost it. It was taped to the monitor, right here, since I've been working there. Always.: No one's going to come in here and steal a business card.: Perhaps something else is missing.: Well, nothing of mine is missing. You're mistaken.: Check again. And... what about Bernie?: Bernard?! Is anything missing from your room? Bernard? Where's he got to this time? : Where is he? Wait a minute... Of course there are things missing. His luggage isn't here. What the...: That can't be... !  : This can't be true.: You can see it, can't you?: I'm gonna call him.: Not with your mobile. Use the phone downstairs - we should play it safe from now on.: You're right. : And I'm back in control for the first time since grabbing the painting. : I can't wander freely though. : Oh, looking at the drill suddenly works now.: You ought to be able to get through even thicker walls with that. : Can't look at the newspaper, can't look at the projection screen. There's only the phone.  : No new messages.  : Wait, they actually have a receiver animation and simply never used it before? : Then why was she talking to Tom over the loudspeaker?: Hello. This is Bernard Dewaele's mailbox. Leave your message after the tone. Thank you for calling.: Bernard. This is Cathryn. Bernard, please call back. Immediately. Call back and tell me that it's not true.: "It's not true! Bye, suckers!" : I can't believe it. That just can't be true. We'll wait. He'll get in touch.*FADE TO BLACK*  : I KNOW WHAT TIME IT IS!: Cathryn, he won't call back. He's done a number on us. Look at this, the paper.: I don't want to read the paper now.: Bernie definitely DID read it.: It says here that the people we were supporting are broke. They didn't get any money... Bernard kept it for himself.: That's why he's gone. His cover would have been blown today, What a slimy creep!: In case it's not clear, the gimmick of these thieves was to regularly donate most of their illegal profits to charities. The only places where this supposedly positive trait was actually stated clearly were the pre-release announcements for the game and page 19 of the manual. Oh, there's also the character sheet...  ...and the only image of Robert at work...  ...and Cathryn posing.  Anyway... : There must be an explanation for this.: There's another article on page one. Have you seen it? Brown, the Prime Minister, is dead. All of a sudden. Just like Henston.: You're usually the first one to celebrate that kind of thing. : Go on? What does that mean?: There's something not quite right.: You're seeing ghosts Mike. What's wrong with you all? McBride paranoid... you too, Bernard's betrayed us... Have you all gone mad? Why are we doing all of this?: Perhaps, you are the problem, Cathryn.: You tell me. : Are you ready for more newspaper? : Good job, game. You killed an actual British PM.What the hell is "inquiry into the ircumstances"? As you see, this is the issue from the 15th. How did no one notice the front page article when they brought the paper with them in the morning? : Hmhm... We're stopping. Now. Today. : I know. We'll do that and then that's it.: (keeps quiet): (keeps quiet): Perhaps you should try calling Bernie again?: No. Get the stuff. It's almost three. We're gonna finish this off.*PHONE RINGS*  : Oh God. Thank God for that. I'll get it. : Cathryn. This is your father. I'm so happy that I've finally reached you. Why didn't you call back?: What do you want, Dad?: Cathryn, listen to me. I think something dreadful has happened.: You're right there.: Now stop that. It's important. I... I sold something years ago. I regret it now and you need to know about it.: Oh, right!: Can we meet? I can't speak freely on the phone.: I'm not interested in your business, dad. If you earn money out of people killing each other, then you have to live with that.: Cathryn, just one question: are you caught up in something illegal?: Less so than you.: So, you are..? For God's sake! Who are you involved with? You must tell me!: I have to go Dad.: Never go full dad.: Cathryn! Don't hang up! : Now listen to me! It's for your own good!: I'm hanging up now.: CATHRYN!: Bye!: What the hell was that... ?: Let's go.*PHONE RINGS* : That's him again. Are you gonna let it ring?: He can talk to the answer phone. Come on now. : I think you're in great danger! I have influential friends and you need them now. You're involved in something bad. And I... I fear that it's partly my fault. Cathryn! Pick the phone up immediately!  : Sometimes I think the game gives me control for one click not because they wanted be to play, but to give me a save opportunity. I can't even go back into the loft.: What's wrong now Cathryn. Let's get this thing done.  : Bugger! : Yeah, the paper just pops on the screen. Delivered all the way from London to Paris. : Goddam... I don't believe it. And I'm lying in the hospital thanks to that Neanderthal. Yeah, well, at least the van's still there. I have to get to the Musée de Paris immediately.: WHY? The break-in happened while you were out cold, and the first news you saw was the PM dying, which is directly related to your assignment. : I know. Jack Stern, International Police, Washington. The incidents here might have something to do with a case that I'm working on. I'd like to have a look around. And I have a couple of questions for you. : Monsieur, I'm not sure if I can let you in here. The POISONOUS criminal investigators expressly forbid...: OK, listen Mr...: Duval. Cedric Duval.: Mr. Duval. It's really quite urgent. I'll take full responsibility. Please let me in.: The British PM died so I urgently need to examine the hole in your basement... That could make a decent premise for porn, but 15 Days is supposed to be a thriller. : Is Cedric checking his hair?   : And those were the only two examinable spots in the whole museum. We can't even check out the blast site. Let's chat with the useless owl. : How long have you worked here?: For thirty POISONOUS years.: That's a long time. Were you on yesterday?: Yes, but I wasn't doing nights. However I was on the premises. I was watching the POISONOUS fireworks.: And there was nothing missing from the museum?: Not one tiny thing. Well except for the wall in the basement of course.: I'd like to take a look at that.: Of course. Come with me.  : The zombies in Yakuza Dead Souls look more alive. : Yes, yes, of course. That was known. They discovered that during the building work.: I love recaps as much as Jack loves rules.: Oh.: Yes. The POISONOUS diggers broke through the catacombs. But of course it was never made public.: Hmm... Have you noticed anything unusual recently?: How do you mean?: Any particular thing happen? Building work? Suspicious, or maybe especially curious visitors?: No. Not really. Or, just a minute, There was a POISONOUS young woman here a week ago. She was asking about the basement. When it was built and so on.: A young woman. Was she on her own?: I didn't see anyone. : How come the alarm didn't go off with the explosion?: Erm... Parts of the alarm system had been shut down because of the fireworks. The air pressure sensors are much too sensitive for that kind of POISONOUS disturbance.: Did anybody know about that?: No. The staff of course. Although...: Yes..? : Now Jack is stroking his cheek considering a shave.: What then, although? Come on, it might be important.: No, no. I'm mistaken.: You discussed this with someone? Isn't that the case? Come on. Who was it?: I mentioned it to a POISONOUS tourist. It slipped out when we discussing the fireworks.: And thus Cedric is single-handedly responsible for leaking critical security info to extremely lucky thieves.: What did he look like?: About forty. Slim. POISONOUS! A bit of a lived-in face. Spoke with an accent... maybe Belgian.: OK. Thank you Cedric. You've helped me a lot.: Come on. Let's go back up. : You know how to make a criminal vs. detective plot more interesting to the audience and avoid unnecessary recaps? : You make the detective notice the poo poo the criminal has overlooked or deemed insignificant: tiny details, inconsistencies, junk. That way the narrative from both sides gives new information to the viewer. : One of my most favourite shows, Columbo, used this from 1968 to 2003. 15 Days can't get one sodding case right. : Here we go again.: Chief? This is Jack. : Ah. Nice to hear from you, Jack. : Yes Chief. That's why I'm calling.: What the hell is going on? The goddam British Prime Minister is dead! In London! And who's got no results? Who hasn't even got any leads? Who is in God drat Paris instead of London and doesn't even call in for over a week? YOU Jack, YOU!: It's goddam impressive that InterPol loses contact with an agent and takes no steps to find his whereabouts for a week.: Chief, let me... : Chief, I was in hospital. I got beaten up. I was unconscious for three days and was in intensive care for two days after that.: And now I'm OK and fine. And they didn't even notice the police ID that I have, and never informed anyone.: Ah. How did that happen?: Well, how that kind of thing always happens. I was just in the wrong place at the wrong time.: I just told a nightclub bouncer that he was a steroid freak.: Oh really. Not even a suspect?: No Sir.: But it would appear you're better now. Good. I'm removing you from the case, Frazier is taking over.: Chief, please listen to me first. I told you about this trio. They were here and are probably back in London now. I'm absolutely certain that those three have something to do with these deaths. Let me just go back to London and close off the case.: No. I've got no idea what you're investigating Jack, but I do know one thing: you're stopping it right now. You're going back to London and handing over your files to Frazier.: Frazier is an idiot.: That might be true, but at least he's an efficient idiot.: drat, I'm starting to wish we had Frazier on the case instead of Jack.: When's he coming?: He'll be at the airport in 24 hours.: Fine. Will you do me one last favour?: WHAT then?: Keep on sending me the cell phone data from Mensforth.: If it makes you happy. Now get your butt to London. Don't get into any fights on the way. I want to know as soon as you're there.: Yes Chief, no problem.  : It's not over yet! Why? : Hello Jack. Tell me - where are you?: And what did you do to our van?: In Paris.: What the hell are you doing in Paris? Do you read the papers?: Yeah, Jack's got fresh London papers flying into his face in Paris.: (sighs) YES. What it is Jordan?: Jack, it was you who called him.: The results from the analysis are back.: Oh! Yes! And? Shoot!: Well Jack. Unfortunately there's nothing spectacular to report. Just as I expected. All the guys could find were some minute traces of polyvinyl alcohol, less than the size of a pin head.: Polyvinyl alcohol? What the hell's that?: It's a water soluble synthetic material. It's used in films. It was probably residue from the packing material. The painting had been transported recently.: Oh, they were analysing the painting, not Henston. With this and the date chat I think one of the earlier dialogues with Jordan went missing.: You don't have anything else?: I'm sorry. We've now got more important things to do, as I'm sure you can imagine. I'm sure you do too.: I'm being replaced by a colleague in 24 hours. : Yeah. Perhaps. I'm on my way back to London. I'll see you there.: Alright. See you then.   : OK. Get it over and done with. And don't take too long.   : But you... look sad.: Come on. : GASP!  : : You are very punctual.: Thank you.: Did you have a nice time in Paris?: Where did the three of them stay for the week, by the way?: I'd say so.: A beautiful city, isn't it? The city of love, isn't that what you say here? And I see you brought me back a souvenir. May I?: Just a second.: Yes... ? : Of course you do. I would be surprised if you didn't.: Brown, the Prime Minister, died yesterday.: Yes, I read about that. Regrettable. He had four children - and a beautiful wife.: "Four children and a wife" is the writer's shorthand for "look it up later". What does the Wiki tell us about the children of Gordon Brown? One daughter born prematurely, died at the age of 10 days to a brain haemorrhage, one son, and one son with a genetic disorder inviting all kinds of health problems.: He also lent a painting out to the London Modern. The painting that you know have. MP Henston had also lent out a painting. : It certainly is. It makes me wonder whether it would be right to give you this painting.: If it would be right... that's an interesting question. You're a brave woman, Ms. Hope. You have pledged your life to the idea of doing the right thing. That is your promise to yourself. Are you doing the right thing now Ms. Hope?: So, it's Mrs. Cathryn but Ms. Hope.: I'm doing what is necessary.: Then we have the same motives. : Mr. Odila. We don't work for you any more... We're not working at all any more. Whatever is is you are doing, it's neither right nor necessary. It's just abhorrent. : Her eyes are up there. Dead and soulless.: You don't work for me anymore. You're not working at all anymore. : Nevermore!: There's only one person of worth to us in you naïve little revolutionary group.: And who is that in your opinion? : Today is your last day. Enjoy the sunset.: Oh hell... Cathryn!? : Ladies and gentlemen, welcome to the best cutscene of the entire game.  : Super-Mike spots trouble! : Odila pulls out his gun! Again. : Mike messes with the remote control! : Odila keeps pointing the shaking gun!    : The wheel jerks and stops! You can see a thin aura around the characters as if this were a green screen scene.  : Odila bangs his head! : Don't fondle him! Take the gun, you idiot!   : HULK SPREAD!    : And it's a miss!  : Odila makes angry gestures and evil grunting noises!  : More evil grunting noises! : Oh, no! Mike is being attacked by... uh.. a guy with a big black rod? : And here's Jack! And look behind him for the barren late '90s 3D wasteland representing London. : Wonder- : -JUMP!  : All we had to do was follow the drat train, CJ! : Jack tackles the blank-faced ninja! : So fluffy!  : Mike notices the commotion and runs! : Hey! : Jack can't follow due to bad back! : The stealthy dude retreats maintaining a natural posture! : Our "heroes" escape!  And that was the best minute of 15 Days. Watch it in motion, if you don't believe me.  
SelenicMartian fucked around with this message at 12:09 on Jan 8, 2015 |
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Dec 14, 2014 17:16
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Well we know someone was in our loft and had the run of the place, so you should definitely use the phone that could've been bugged  .
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Dec 14, 2014 17:34
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 "Movie quality dialogue" seems like a particularly wild lie.
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Dec 14, 2014 21:09
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In fairness, they didn't say it was a good movie.
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Dec 14, 2014 22:01
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... for betrayal to mean something, there has to be something to betray. The loft people have such a lifeless relationship that there's absolutely no feeling connected to it, hell the most sympathetic person in the game so far is Cathryn's dad. Of course, if they explore that at all that'll probably disappear. That 'exciting' cutscene aside, if that's the best they have to offer, how the hell do they wrap this up?
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Dec 14, 2014 23:22
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I suppose if they had to kill a PM, I'm glad it was that one. All the models make everyone in this game look fifty years old. How old are these people supposed to be? Because they don't look it. If this is 'high resolution' I will eat something that is not intended to be eaten.
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Dec 14, 2014 23:43
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Uh, Jack, when you're a policeman and see someone being attacked, and you stop the attacker, the next step is generally to arrest the attacker, not try to chase down the victim.
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Dec 15, 2014 02:58
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In his defense, he's probably brain damaged from the earlier beating he got. Can't be thinking straight at all.
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Dec 15, 2014 03:32
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The paintings are somehow related to the murders now?
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Dec 15, 2014 04:10
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Mraagvpeine posted:The paintings are somehow related to the murders now? Yeah, through the magic power of Stupid.
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Dec 15, 2014 12:56
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Ghostwoods posted:Yeah, through the magic power of Stupid. That's a more coherent explanation than anything I've seen in this game so far. Headcanon accepted!
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Dec 15, 2014 20:50
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There will be "scientific" explanation researched about as well as the time difference.
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Dec 15, 2014 20:55
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I think a slow motion gif of Cathryns horrifying teeth closeup would be a perfect avatar. Also, the stupidity of this game is giving me a headache if I think to much about it. I feel like I should replay Overclocked because I am starting to feel like it would have been too much of a fluke for the people who made this also created a game I remember enjoying. I can't fathom how that would have been possible.
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Dec 16, 2014 11:03
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Part 14: Plot Held Together By Fourteen Litres of Spit : Mike still can't get over the previous scene. : My God... what the hell was that? The guy wanted to kill us. I don't believe it. : Oh no... : Don't look at the camera! : This can't be for real. Those scumbags.: Do you think he's... dead?: No. You heard what Odila said. They need him.: How do you know that? Maybe they took a shine to Bernard?: Perhaps he's been arrested?: They've kidnapped him. : Flap your arms more and you'll fly right out the window.: Either Odila or the police will be here in five minutes. : It's Jack! I hope, he won't give them a recap of the entire case.  : Jack, shoot them now and make yourself relevant to the plot!: Oh no. You always meet twice.: You know each other, or what...: That's the guy from the jetty by the museum.  : A few dozen questions in fact. You're under arrest. Both of you.: What's the charge?: Well. Let's just start with break-in, causing an explosion, forgery of vehicle registration plates, fraud and misleading the authorities. And then we'll see if we can't throw in accessory to murder or even murder itself.: How much of these are actual legal terms?   : The door loudly clicks and creeks.  : Why does Robert have multiple copies of the same painting? : It's Bernard!   : I poo poo you not, the three frames above directly follow one another in sequence.   : And so do these two. : Bernard is at peace now.  : That's what I call timing. : Hey. Everything alright?: We ought to ask you that. (keeps quiet): (keeps quiet) : Come now, game, tell me that Jack (keeps quiet). : Listen guys...: You idiot. You grassed us up to the police. : "Grassed on me he did," I said morosely. I drew closer and laid my dirty junky fingers on his sharkskin sleeve. "And us blood brothers in the same dirty needle. I can tell you with confidence he's due for a hot shot.": No, I didn't. : NO.: Then what? You just stole from us? And then disappeared before it got dangerous?: Guys. We've gotta get out of here. Now.: We? There is no WE anymore, you pillock. You're a snitch. I'm sick of the sight of you.: Is that what you think too, Cathryn? : Go. Go where you were planning to go. No one needs you here anymore.: Yes. You need me. And McBride needs us. I... I know that I er, cocked things up.: Oh yes? I'm looking forward to hearing this! : Yes, Bernard stands with Jack's foot between his.: We've gotta get to the airport, immediately.: Without me. We haven't even got a car anymore, you idiot. We can't go back to the London Eye. We can't go anywhere.: Let's take the cop's car. Come on now!: drat.: (sighs) : We're in control to examine the easel and the paintings. I didn't see the hand over the buckets of paint.: There's been some kind of struggle here...: What a mess...: And now we loot the body.: He'll be out for a while yet. : What have we got here? : That must be the key to his van...: How do you know he drives a van? Did the item name tip you off? : Even at this time Cathryn can find a moment to bitch about the chairs. Now for the van.: That must be Stern's van... : And thus Jack's van plays a bigger role in the story than Jack.Actually, I have a theory: Jack wasn't supposed to feature in the plot at all. His appearance at the jetty had no effect on the plans. His presence is imperceptible to the trio until he nicks the business card, and that is instantly overshadowed by Bernard ditching the team. Jack saves Mike from a character never mentioned in the plot before, and then Mike runs away as he would have done anyway after Odila pulled out his gun. They lose the van, but Jack happens to have a van that looks exactly like Mike's, so they might as well have driven from the London Eye straight to the airport. Oh, and Mike didn't even recognize Jack in the studio. Why is Jack here? Well, back then Heavy Rain was announced to have multiple plot threads. And Fahrenheit had them. After the original plot for 15 Days was scribbled on a napkin in some cafe someone on the development team probably said "Let's add a detective's side to this", and so it happened. Anyway... : Go ahead.: OK, listen. I've got caught up in something really bad. I... I've done a couple of jobs on the side. With... Mr. Odila.: Jobs. : He wanted access to Robert's studio. A duplicate key.: And you got him one.: You can't be serious.: He knew everything about me. : Debts? Who do you owe?: You two.: What do you mean us two? Wait... you gambled the money away? I know it. "I've gotta go into town" - what kind of a poor sod are you?: I'm sorry. I swear I didn't want to spend the money. I... just wanted... to double it.: If memory serves, not counting the few times I specifically pointed it out, the only time the game hinted that Bernard might have a gambling issue was when Cathryn optionally examined the chess set in the loft. Great narrative.: And keep the winnings.: (keeps quiet): What did Odila want with the key?: To stick it into the lock?: He didn't tell me. But he assured me that nothing would happen to Robert and that he wouldn't notice a thing. I thought it had something to do with Robert's work. He's got a load of excellent copies lying around. I thought they might be after one of those.: Oh great. And this morning you realised that everything was going to leak out, so you just disappeared.: (keeps quiet): With our money.: I haven't received a penny from Odila. He conned us. All of us. : I heard Cathryn's call. I was already at the airport. But I... I just couldn't do it.: Oh, all of a sudden...: Yeah, all of a sudden. I'm sorry.: (keeps quiet): (keeps quiet): Should I go?: As far as I'm concerned you should never have come back.: Mike was looking forward to prison. : Now you've got more debts. You owe it to us to get him out of there.: I know. I blame myself.: I'm not going anywhere with that pratt.: This cop? Have we got you to thank for him too? Have you done "business" with him as well?: No.: Huh. And why should we believe that?: It's the truth. I can't tell you anything else.: Mike, can you please go through all the papers that snooper's got in the back of his car? If he was investigating us then he might also have some clues that could lead us to Robert.: I'm pretty sure the only thing Jack's got is a log of Mike's movements. That's going to be embarrassing.: And the thing with Bernard? Is it just gonna hang in the air like this?: We need all the information about this dictator we can get. Now. Come on Mike.: What dictator? Odila never named his employer.  : My eyes!: Henston and Brown were both particularly outspoken with regards to the economic sanctions against Surinawa. Brown's vote in the security council was the direct cause of the blockade. And Henston had significantly supported the counter-movement in the civil war. Dictator Elengi had to flee. He's now the president of an exiled government, on a mini island in the middle of the Pacific Ocean.: It says that he promised the Western leaders, who had forced him from his country, a painful death.: How do you see this, Cathryn?: Here. I found this diplomatic passport on Odila. "Provisional Republic of Surinawa". That's where they'll take Robert. Where is this island exactly?: So, first they look up a random dictator, and then realise that Odila is connected to him. Actually, how did she find a passport on Odila? Was Bernard originally supposed to knock him out in the studio and they just left the lines untouched? OK, Cathryn could have done it in the London Eye, but why would she?: In the middle of nowhere. Near the Society Islands, far off in the Pacific Ocean. They haven't even got an airport.: Find out how we can get there Mike. You've got half and hour. And get hold of the most detailed map you can. : Yes, we've got money. Isn't that right Bernard?: Hasn't he gambled it all awa... ah, gently caress it.: OK. I'll see what I can do. : The nearest airport is on Tahiti. From there you have to travel to take a ship or a boat. I've also found a map of the island. Quite secure. This Elengi is certainly a bit paranoid.: When's the next flight?: If we hurry we'll make the check-in for the night flight. In ten minutes. : We've got enough money.: You, keep your mouth shut. And when we're there? What's the plan?: We haven't got time for a plan Mike. When the cop wakes up again he'll start looking for us right away.: Or a week later.: We fly over there, I'll board the ship as a tourist and look for Robert. YOU two will stay on Tahiti in the meantime and make a plan.: That sounds great.: We've got no choice. We've gotta improvise. Come on.: OK, here's a brief summary. There was that Elengi guy in Africa who had a bone to pick with the West, and he had such an amazing influence on the troops that they killed their own families when he ordered them to, and left their children to die when the westerners tried to treat them. Now he's operating from a remote heavily fortified spot, his "compound" if you will, and we're to pay him a visit.What I'm saying is, in the final act 15 Days reveals that it has been a Heart of Darkness/Apocalypse Now game all along. Hell, you can draw parallels to Spec Ops: The Line if you want, with our team of a leader in denial, a wisecracking tech guy, and an older guy. Only none of them work. Now, while it sinks in...  : 15 Days goes past 15 days, and I've got an island to explore. : Is it just me or does the map have nothing to do with the aerial view? : A real paradise... : The endless stream of birds in the top left is animated barely above the level of that plane in the London Eye scenes.: Here.: I'm there now. I'm going to have to shut down for a while. I'll be back in touch as soon as it's possible.: OK. Watch out for yourself. : There's nothing to examine on this screen except for the shacks on the left.: It looks kind of romantic. But those are slums.: Right, let's check out the car on the right and talk to the mine salesman, or whoever he us.: Ooh. That looks a mess...: I think I have to speak to the soldier first. He's giving me some funny looks.: What soldier? Anyway, funny looks. : Hi Officer. It's really fabulous here. : Your passport please, madam.: Yep, I've got it... : Yeah, remember that time she unconvincingly gave her name as Tracy to Steven(s)? It's official now. : No one is going to call you.: Empty your pockets.: Oh, I... don't have much with me. Only my mobile, the passport and a bit of cash. I'm only making a bit of a detour over here, you know. I really live in Tahiti.: While she's saying this the guard hands her back the passport. It vanishes when Cathryn doesn't take it.: You're travelling alone?: Er... Yes of course.: How long are you staying?: Well... Perhaps two or three days. Depends how much I like it here. I hope not everyone here's as unfriendly as you.: Madam, you are a British citizen. Are you aware about the diplomatic situation between your country and mine?: To be honest, I'm not all that up on things... Is there a bit of a problem?: Great Britain is an enemy state. Visits from its citizens are undesirable. Our President, Raila Elengi is a benevolent man and he allows visitors from western states to stay for a maximum of three days. If you haven't left our territory by the time that period elapses, then you'll be taken into custody pending deportation. You may not move about the island during the curfew. Photography and filming is forbidden. If you break the law then you run the risk of...: ...custody pending deportation?: I see we understand each other. Do you have any questions?: No, everything's quite clear. : Good, can I talk to the mine guy now? : Fine... I'll check out the area up the stairs behind the guard. : Nothing to do here, then. : There's the tanker, the watch tower and the pump.: Filled to the brim with petrol.: Nice and gloomy...: The pump is pretty close to the watch tower...: It's like a Just Cause 2 map. Let's go further into the town. : Here Cathryn can observe the sign, the palm tree, the washing on the line and the concrete blocks marking a checkpoint.: It's only a short hop to the beach.: Paradise.: Nifty! Mum used to always do that too.: A checkpoint.: Let's go further down the only available path. : A soldier on every corner.: We can't talk to him, though. Let's take the exit, labelled "Villa".  : Another dull place. There's a camera facing away from the gate and the barbed wire fence.: Hmm... Like in London. Everything under surveillance 24/7.: No way through there.: And now we open the gate.: It doesn't look to inviting. : It's closed. As long as the soldier's there, I can forget about it. : Step back. : Step back, or I'll have to arrest you.: OK, OK, no problem. : Who does this property belong to? It's certainly very imposing. : That's a new one.: You're not especially talkative, are you?: (is silent): Ah. OK then. I'll go. : Suddenly, a cutscene.: Mike?: Oi! You still breathing? Yes?: This isn't a joke, all this. I've just had my first police interrogation.: Yeah, great. What did they want?: Immigration formalities. As an Englishwoman, I'm not exactly a guest of honour.: Yes, that was to be expected. Did they notice anything?: No, everything's OK for now. I can only hope that I don't meet that Odila here. The island is really tiny.: They won't be reckoning on us coming to them.: I'm going to take a look around. I'll give you a shout later.: OK.  : Yes, I get the hint, Cathryn. : What is it?: What are you still doing on the streets?: Is it curfew already?: In twenty minutes. You have accommodation?: I... I'm sleeping on the beach this evening. If that's allowed.: It's not. Curfew means you have to stay in your house. If you don't have anywhere to stay, I'll lock you up.: Sounds like a reasonable offer.: Oh, I understand. Where, er, could I find accommodation quickly then?: Most of the fishermen have guest rooms. : A guy dressed for a night on the town, which is kinda ironic, walks into the scene. : She does not have accommodation. : Oh my, my. Then we have to help the poor girl! I can't allow such a charming person to spend the night in a grim police station, Captain.: His accent seems to be built around horribly mispronouncing select vowels.: Thanks very much, but I'm sorting myself out. If I can do it in time for the curfew.: Oh yes the curfew. You can't go blaming the good Captain Pakele about that. But he is very strict about it. Pakele, Don't be a beast and give the girl some leeway will you, hmm?: Yes Sir.: Good night Captain. Good night young lady. Maybe we'll meet again? : He's nice. Who was that?: Now just make sure you have somewhere to stay.: Finally we have a reason to talk to the mine guy. : Do you speak my language? : Yes, a little. You're from England, young lady?: Correct, you can tell then?: Well one tries. I spent 15 years working on Ascension, you know. That's full of Americans.: Yes, I heard. It's a military base isn't it? : How do you know his name? Was it something I couldn't hear in the noise of the waves hitting the shore?: What did you do there?: Oh, I helped to mine the inshore waters.: Mmm. That's a pretty dangerous job.: Ah, you get used to it. Obviously if you step on one, then it gets unpleasant.: How does one step on a naval mine?: How did you get that job?: I'm a fisherman. And the fishermen know the waters around here. You know all about the channels and the shallows. You can tell by the colour of the water whether or not you can take a boat somewhere. Therefore you also know the route that the enemy boat might take. And that's where you lay the mines. The Americans knew that. They recruited lots of fishermen from a radius of around a hundred miles.: If the game's own story is to be believed, this island is somewhere in the middle of the Pacific. Ascension island is in the Atlantic, halfway between Africa and South America. Those Americans were loving desperate. Oh, and Ascension island is controlled by the UK, the US forces are guests there.: And they were simply allowed to do that?: Yeah. At the time these islands were still free. We could go where we wanted. At that time... : So, when did this island switch oceans, pops? : You don't get many people coming here these days. And even fewer get away again. When Elengi took over the islands, the first thing he did was mine the local waters.: Ah... so that's why Alfred is sitting on a stockpile... of Soviet TM-46... anti-tank mines. What the hell, game?: But that wouldn't be able to stop someone like you.: No, of course not. : No, I don't. No way, these islands are my home.: But... You just said...: Look, child. A person isn't free if they have to flee their home. You're free when you can leave... and also come back again. : Tell me about Elengi.: Take a look around. See the mines, the watchtowers, the soldiers. That tells you everything about Elengi.: How did he take over these islands? Didn't anyone defend them?: Yes, of course. The young ones and the brave: they fought. And so we became an island of cowards and old folks.: You mean they're all...?: Elengi is a cultivated man, young lady. : He loves art, you know.: He did WHAT...? That's not true.: In his palace he has a gallery with rust red walls. He's a very cultivated man.: He's a monster. : Elengi, putting the "dick" in dictator.: Tell me about Elengi.: Yes, she repeats the line.: I can tell you a story. Four years ago, I caught a fish. A shark. It was a very weak animal, already lost all of its strength. An easy catch. I cut off its fins and sold them to a tourist. When I gutted the shark, I found a small poisonous fish in its stomach. The tourist became fatally ill. I sat in hospital at his bedside. I knew that he wasn't going to survive. Then Elengi came into the hospital. He'd heard about the case. He watched the death struggle all night long. And in the morning, when the man was dead he said: : He had the dead Briton painted. The picture's hanging in his palace.: That's gruesome. : Yes, of course I am. Every morning. An hour before sunrise.: Could I come with you?: No little lady. That wouldn't work.: Why not then?: I know the way through the mines. If you got to know it, then we'd both end up getting lynched for it.: It's a good thing Cathryn didn't arrive by boat. Oh, wait...: Oh, I understand. : Listen Alfred... I've got another question. I'm a little uncomfortable asking...: You need somewhere to stay, don't you? It'll be curfew any time now and you can't stay here on the beach.: Er, yes. Exactly. Perhaps you know someone..?: You can stay at my place.: Oh, that's really nice of you. I'll pay you of course... wait, I can give you...: Keep your money. Better give it to a good cause instead.: I think I can promise you that.*SIREN* : We have to go.: Just a minute. I still have to make a phone call. : I'll find it. And then you'll have to tell me more.: I still can't take a mine for a souvenir. Let's make a call. Cathryn won't even let us enter the town before that.: I have to speak to Mike first, urgently.  : Is here better? : Cathryn takes a few steps towards the screen and... : Yep! We're here. We're trying to rustle up a boat. But it's not so easy. None of the tubs we've seen so far would even get us to the next buoy. How's it going with you? You found anything out yet? : He's told me some real horror stories. The waters around the island are mined. You won't get through so easily.: That doesn't sound so good. Do you know what kind of mines they are?: Not yet. I'll try and find out though.: They're landmines. As long as you don't drive on the ocean floor, you'll be fine.: Mike?: Yeah.: It all feels a bit weird here to me. The island looks like a paradise. But the regime is hellish.: Must be the shark fin soup.: Do you think that McBride's still alive then?: I'm not so sure anymore.: Do you want to get out?: I can't give up that quickly.: That's your decision. : Huh. Well which of us knows what that is.: How are you getting on with Bernard?: How should we be getting on? We don't talk much.: Mike you have to...: I don't have to do anything. He's a pig.: Stop it. : How's the world supposed to change if one of the three of us is happy to leave things as they are?: He made a mistake, Mike.: Yes, course he did. Maybe this Elengi has just made a mistake too.: That's not the same thing. And you know it. : You'd think they'd keep the chat short with the upcoming curfew, but no.: Should we just quit this job?: It's the last one we're doing anyway.: You say that like we've lost already.: Have you already thought about what we're going to do if we ever get away from here.: I don't even remember most of this conversation. I think, I went to get a mug of tea when the empty beach showed up.: (is silent): Here's Bernie. We'll talk again tomorrow, OK?  : I hope so.: The game probably expected me to make the call on the beach. They had the camera and the script ready. Only Cathryn wasn't there.  : At least I can still interact with the hotspots. : So I go past the immigration & curfew officer... : ...pick up Cathryn's body and enter the town for the night.P.S. Here's the video of the evening checkpoint meeting. What accents are they doing? 
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Dec 16, 2014 19:34
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What? WHAT?  I... But... WHAT? EDIT: quote:What accents are they doing? Ghostwoods fucked around with this message at 22:47 on Dec 16, 2014 |
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Dec 16, 2014 22:43
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Let me guess, the dictator wants to make blood paintings and wants Robert to teach him.
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Dec 16, 2014 22:59
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And I thought this game was dumb and nonsensical before. It's like half the plot is missing and the bits that are there are badly written.
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Dec 17, 2014 03:07
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Tiggum posted:And I thought this game was dumb and nonsensical before. It's like half the plot is missing and the bits that are there are badly written.
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Dec 17, 2014 19:27
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SelenicMartian posted:I finally finished recording all the footage, and it all somehow gets dumber and worse. We're only 2 updates away from the ending. There will be more Jack. How is Jack still alive at this point?
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Dec 17, 2014 22:19
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No Gravitas posted:How is Jack still alive at this point? And, indeed, why is Jack still alive?
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Dec 18, 2014 00:30
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Part 15: Fifteen Shades of Gameplay : It was a very... informative evening.: Alfred probably had to sleep on the roof, seeing that Cathryn hasn't changed her outfit in nearly three weeks.: I hope you find your friend. If you need anything while you're here. Come to me at any time. And remember what I told you about the mines. Be careful.: Yes, of course. I have my boys. They'll look after me. (pauses) I have to go now. See you again later perhaps. : Here I missed out on trying to talk to the guard who moved to the right. No big loss, the main changes happen on the other screens.  : Hmm... He seems to be patrolling round...: The customs guy is patrolling the streets now. Every time I enter this screen I'm locked out of the controls until he walks away again and the cutscene finishes playing.  : When he gets behind there, I'll have a few seconds free of him.: The same poo poo happens here only the cutscene involves his feet and his shadow briefly walking into the very top of the screen. Oh, and the "few seconds" is actually more like a minute or two. I'm not sure the guard can even come back until you re-renter the screen. You can't fail, that would require the developer to code and write a failure cutscene. : At last! : You could do a lot with that... if you laid it in the right place.: You know, it's not common to explicitly label landmines as "contact". However, contact mines are a traditional category of naval mines, and you all know what they look like: the stereotypical big metal ball with rods sticking out of it.      : I'm guessing the original script did expect Cathryn to pocket a naval contact mine, and then the artist came in, showed them a photo and asked "Are you loving insane?" So they had to replace the visual with a more portable device.  : Careful with it... : We use the mine on the brand new hotspot that appeared only today.: It smells particularly strongly here...: No poo poo, it's a pool of it. Although why don't you lick it to check? : Cathryn sets the now invisible mine down. : The mine shows up only when she stands up and starts talking.: But how could you ignite it..? Maybe Alfred can help me. And I'll give Mike a call tonight.: Well, the TM-46 has a pressure fuse which could be triggered by a blind guard weighting over 120 kg, and, optionally, a "gently caress you, bomb disposal guy" fuse which triggers when the mine is lifted from the surface it rests on. : All this pointless messing around with a mine was absolutely necessary to advance the plot, by the way.: Come here a minute. Let's have a little chat.: Look. My saviour from yesterday. Good evening! : I do. My doctor has recommended it. The old bones need a little exercise. And you? Are you having a nice time here with us? Did everything go OK with the accommodation?: Yes, everything's fine. It's really... interesting here. And the beach is wonderful... Only with all the soldiers it's a bit unnerving.: Well, yes, I know. I don't especially like the military. All the shouting orders, the dreary uniforms, the marching... Soldiers are simply... boring! But we need them. History has taught us that much. : I don't think so, little girl. Tell me, what brings you here? Are young girl here from England on her own. That's brave. Unusual.: Oh! Well, you know, I just kind of set off. Rather spontaneous. I'm er, looking for something, you could say.: Ah my word! Looking for something... Aren't we all! And? What are you looking for then? For knowledge? Recognition? Friends? Life's big goal?: A bit of each I guess.: Yes. I can understand that. That's what bonds us. What do you do in England? Study?: I've already done that. Art and art history. : Like Starbucks, arranging cans in a shop, or even writing bad games.: Exactly. There's nothing in my way for a successful career in the industry.: Except for a complete lack of talent and common sense.: Ah, you're young. You've got plans, for sure. What are you going to do with all the studying? What are you going to do with your life?: (pauses) : (pauses) And you... What do you do? You seem to be a man who commands some respect here.: You know what, little lady. I'd very much like to show you. : Oh, that's really nice of you... but er, I don't know, if er...: Please, you can rest assured that I'm just a harmless old fool who would just like to chat and show off his house.: At this point he convincingly breaks into creepy laughter. See the video.: Well then. That makes the offer irresistible.: Come on then.  : That's your house..? : Does that mean...: It's impressive that Mike couldn't find a single photo of that dictator guy.: Come come. We can chat more while we eat. : But it's way cool. It's got a cable car. Your architect really went to town.: Come my dear. We have to take the cable car. It does sway a little... : Cathryn walks in gawking.: Wow.: (pauses) : Very much.  : It's...just amazing.  : Can I have a look around?: But of course.   : There are actually only two or three spots the check in the whole area.: Where do these stairs go to?: Oh, that's the access to my landing pad. I have a helicopter, you know.: Your very own helicopter. Now that's cool. In case you need to leave quickly, then?: Yes it is. In my position, that can happen faster than you think.: You still haven't told me what you do. : You... You're Raila Elengi. This republic's president.: (pauses): (pauses): Does that disturb you? : His leg disturbs me though. : No, as long as we're not enemies.: Ah, now that sounds rather sinister. You have a lot of enemies, don't you?: Oh yes, a lot. My life has always been defined by struggle.: And... Don't you want that to stop?: Yes, I would like it to stop. But I didn't go looking for my enemies. They came looking for me. If I want peace from them. I not only have to fight them. I have to win. : Moving on...: This map here... Does it show the island..? : Does it?: Yes, precisely. Although it's one of the oldest maps, it's also one of the best. Strange isn't it?: And these little symbols, they look like they've been drawn in at a later date.: I'm surprised I can hear most of this. It's mainly thanks to the soundtrack going into Apocalypse Now night time themes i.e. someone plucks a random guitar string every few minutes. : That's what my ex-boyfriend always used to say.: And what did you reply?: Well, that I'm just... 'interested'.: Interested. Of course. I've just had the minefield added to the map. The one we had laid around the island. It would be rather stupid if I had to to leave the island by sea and didn't know myself where I should be sailing.: That's true. So why did you have everywhere mined here?: Oh yes, well we didn't want to wake up one morning to find a whole British or American army standing on the beach.: And what would they want? There really isn't much here.: You're very amusing. You're also correct. If I wasn't here, then there wouldn't be anything at all. And there are people that really do wish for that.: Do you live in fear of that?: (pauses) Of course I know fear. Not to know fear, is to be an idiot. Bravery is recognising your fear and knowing how to tame it.: I've already heard that.: Most definitely. The advantages of a humanistic European education.: That was all of the map chat. There's one more spot left. Oh, and we can't leave.: I can't just simply run off. He's invited me. : This curtain is beautiful... What's behind it? Can I look?: After we've eaten perhaps: Ooh, a secret, yes?: Exactly that.: The excitement's unbearable already.: You wish. : I'm sorry, has someone told the voice actor to make Elengi sound fabulous and playful? Because his voice goes there. : So, have you seen enough, little Tracy?: Honestly? I could look around here for hours on end.: I like you. Your interest is genuine. You don't come across that so often.: Oh thank you.: The compliment needn't make you feel uncomfortable. You must surely be hungry?: I'm starving. I didn't think you were going to ask again.: Oh dear, I really am a monster. Come, let's sit at the table and I'll have something brought to us. : Elengi's walking animation has a limp, but it plays so fast it's ridiculous.  : Some time later he just barely sits down, and talking is the only available action. Before that there's the video of Elengi's playful chat about the curtain.  : What did they eat? Why the hell are the fork and the knife on the same side of the plate? : Beautiful shot framing.: The black dumplings... What were they made from? : You liked them?: Mmm... and how.: From Scarab beetles. Delicious, yes?: (pauses): Nonsense! They were truffles! You really must have a terrible picture of me!: Phew! You gave me a bit of a shock there.: You thought I'd do that?: Ah no... er yes... I don't know. I hardly know you. : What makes you think that?: I feel it. Are you afraid of me?: No... a little, perhaps.: You've read where I come from? You know what this republic here is about?: Well, yes... I read a few things before I came out here.: And? Do you believe what you've read about me?: I'm not sure.: Then ask. Ask away and I'll answer all your questions. Every one. : I did read that you were an art collector.: Yes I am.: But I hardly see any pictures in your house.: You're a good observer. There ARE pictures in this house. I've only been collecting for a few years. But my collection is... unique.: So how do you collect? Particular periods? Particular artists? : That's a good principle.: That it is. But then I became... more selective.: Could you become louder? Elengi's half whisper is drowning in crickets.: Aha. And like how?: Did you know that in our country we believe that every picture has a soul. And not only the one that you might see of the person in the picture. But also a soul that belongs to the owner of the picture itself. There is always a spiritual connection between the picture and its owner.: That's a very beautiful... concept. And not so far removed from one I have myself. : And now..?: And now I collect the ones which give me the deepest gratification. Do you understand that?: I don't know if I do exactly. : (pauses): Look, now I'm scaring you again. : About your country... The 'old' Republic of Surinawa.: Yes..?: What happened there? I mean, I have read a little of the history and...: ... I play a somewhat inglorious role?: Well yes.: Yes I know. History is always written by the victors. That is the heart of the imperialist ideology.: And how does your version read?: Surinawa was always a very proud country. British colonial rule almost ruined it. The British plundered our mines and subjugates our people. They could hardly expect that there would be no revolt. When we became independent, the natural resources became ours once more. Precious metals, uranium and ores gave us back our prosperity and our republic became a rising African state. But then the colonial rulers returned. Only this time in the form of mining corporations. This could have been the second expropriation and I was not going to allow it. We defended our land with an iron fist. Against not only the invaders, but also against the many traitors and collaborators within our midst.: You had them killed.: We did what was necessary. We had the choice to either fight, or suffer servitude for a second time.: You say that you did what was necessary. Do you also think that it was... right?: What's necessary is also right. And what's right becomes necessary.: Perhaps. : Things that are necessary and right, must also be done. With severity and anger. And if it has to be so... with hate also. Unrelenting and without pity, with resolve and burning with hatred. That's how we have to fight. In the service of truth and justice. : ...you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared.: That sounds quite terrible.: The truth can be brutal and also painful. You can't always have it both ways, as many Europeans love to think. Sometimes the only option is to have one or the other. To decide for one thing, and let the other thing go.: (pauses): You're not saying anything anymore, Tracy. I'm scaring you and I don't want to do that.: I don't know what to say.: Because it sounds so awful? : All of us have to decide. You, me, all of us. Life doesn't wait for us. It comes AT us... and we have to decide. : Can I ask you something else?: But of course.: Why did you invite me here?: (pauses) There are two answers. I don't like eating alone. That's one. I enjoy company. It's nice to have someone around.: So you're always alone then? You don't have a wife, or any children?: I'm a warrior, Tracy.: But that doesn't mean... : Did he get something shot off or what?: I once had a wife, yes. And a daughter.: Where are they both now? : She found my methods... unacceptable. She was weak. The fact the she went, wasn't a loss to me. It was the right thing.: And your daughter..?: Probably found his methods unsound.: (pauses) I don't know where she's living. She turned against me. Many years ago now. I don't have a daughter anymore. You understand?: Yes, I understand that completely.: It's not such a rare thing... I have a business partner, he has an armaments business. The situation is just the same with his daughter. She's become a criminal. And hates him with a passion.: He's an... arms manufacturer..?: Arms, legs, noses - all kids of prosthetics.: Perhaps that's why.: Yes! That's quite possible. What do you say to him?: I tell him to forget her.: Yes. Maybe that's the only option. : I have to think about all this. I'm tired. : I don't know if that really...: ... would be right? But yes. Don't think about it You can sleep in my daughter's room.: I thought she'd... left you.: Yes, but I've always kept a room for her. In case she...: ...wants to come back. : You graphics really suck, if you have to subtitle a nod.: (pauses) So. That's enough of the sad stories. I still wanted to show you something. Are you still keen?: That depends on what it is.:  : My collection.: Oh yes, I want to see that. Most definitely.: I thought so. Then come along. : Come. : I could leave this for the next update, but let's take a peek now. : The Churchill portrait is the obvious plot trigger. Let's quickly examine the rest. : How do you know there are cells there? It's locked.: drat. It's locked...: Told you so. What about the painting above the door?: So we weren't the only ones who Elengi commissioned to carry out thefts. I wouldn't like to know what happened to our predecessors. : That's the comment for paintings on the left. Cathryn is even more excited about the right batch.: If these are the originals here, they'll be worth a fortune.: And now it's time for the armoured glass window.: Wow! You can see right into the inside of the volcano through the glass wall.: INTO THE WHAT?Right, the next update will be the last. Any guesses on what the ending will be like? Except for stupid and disappointing, that's a given. SelenicMartian fucked around with this message at 12:38 on Jan 8, 2015 |
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Dec 18, 2014 19:44
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I assumed they were dosing the forged paintings with some sort of airborne poison (which is why they wanted access to the forger's apartment), but with the "paintings have the soul of their owner" I have so say the game's going Dorian Gray on us, and they're doing something to the paintings to kill their owners. Because that's the STUPIDEST THING I COULD THINK OF. Aside from having a glass window that looks into a volcano. Somebody's winding up in there before the game is done.
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Dec 18, 2014 20:34
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SelenicMartian posted:Right, the next update will be the last. Any guesses on what the ending will be like? Except for stupid and disappointing, that's a given. I don't think there's any possible ending to this that would make any kind of sense. I'm kind of hoping that Cathryn will end up going "You know what, this ruthless dictator is right." and decide to move into the volcano lair with him.
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Dec 19, 2014 02:10
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A volcano lair. But don't worry, we have glass to protect us from all that convection. Also: I don't recall a volcano on either of the maps! Eh... They really did not portray the dictator that negatively. He seems like a bit of a loonie, but not that bad of a bloke.
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Dec 19, 2014 06:13
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Yeah, I'm expecting things to go full Dorian Grey here. Has our ~ace detective~ actually gotten any evidence from that first murder scene?
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Dec 20, 2014 03:27
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Part 16: Sweet Sixteen: Previously we stopped a few frames away from looking at the portrait of Churchill.  : Or better still: What do you FEEL when you look at these works?: What do I feel..? (pauses) They give me the creeps.: Really? Then you have an astonishing feel for the soul of these pictures. These pictures, though they're so different, they have three things in common. Can you guess what they are?: The artists are dead.: Correct. That's one. But more important is: Their owners are dead too. And third, the most important thing: :   Seriously, we need a hammer and sickle here. : (pauses): What do you say to that?: (is silent): Isn't that one unique collection? Strongly autobiographically assembled. Hand-picked according to my own quite personal standards of justice.: Those are your standards? You collect pictures that have belonged to your enemies?: I collect pictures from DEAD enemies. : Does anyone in the world of 15 Days store art properly?: (pause) That's horrible. : She wouldn't want her father to have so much hate inside of him. How did these people die?: I know this much, they all became ill very quickly. And died in agony.: And you're happy about that?: I've told you what I think about my enemies.: You are happy. Have you... I mean... Were you the..? Did you...: I think you've seen enough. And you're tired... It's bedtime. I'm going to retire. We can talk more in the morning. Provided, you still wish to stay here.: I don't know. I won't be able to shut my eyes.: Yeah, the facial animations are very limited.: Oh yes you will. Don't be afraid. Think about what I have told you. Really think about it. And think of YOUR OWN enemies. Then you'll understand me. You'll find my daughter's room by the entrance. I wish you a good night.: Good night.  : Cathryn tries on the hellish background to see if it fits her style. : Back in control. The obvious course of action is to check out that locked door again. : I've never seen any remote, but let's look for it. : By the way, leaving the gallery is a bitch. See the exit icon in the corner near the map button? That thing covers most of the usable hotspot. You actually have better odds of hitting it to the bottom right of the big map circle.  : "Out into the park" lands us all the way out here. Let's look at the car, the statue and the cable car.: Hmm... My dad had exactly the same car.: Blatantly flash. Typical new money.: But that's cool... He's got a cable car.: This whole area is entirely optional to visit. Our objective is back in the villa. : The door opening transmitter sounds just like the thing we were looking for.: That's the transmitter that he opened the gate with.: Not shown, because that would require animating a door opening in a scene. This never happens. : The remote vanishes right when I click to pick it up, but Cathryn still reaches for the thin air half-way to the table to hammer in the bad animation quality. : Let's see where it works  : It looks hellish grim... : No game, that's Robert very clearly shouting "Is somebody there? Help! Get us out of here! Quick! Quickly! Get us out of here, please! Help! In here!" : That's coming from the cells...: That's coming from Robert, who sounds very lively for once. : There's nothing to see here except for one door and the device next to it. : No, it's a film projector. Looks like a complicated puzzle. I'd better leave it for later. : Jackpot! The cell door is the only spot in the game with whooping four options of dealing with it.  : I can hear something... They're in there!: Who's is there with Robert? Her father? : A solid metal door...  : Heck, how do you get the damned thing open? : Robert? Robert! Are you in there? : Cathryn?: Yes, it's me.: Cathryn! You're heaven-sent. How did you get here? : gently caress! No! Why? WHY?!: Open the door!: Mr. Stern? What...: I'll explain it to you once you've opened this damned door!: You'd better!  : Robert. Are you both well?: I've been better! Open this damned door, will you!: OK, OK, calm yourselves down. I don't know quite how the door opens, but I'm getting there... : Are you ready for another exciting puzzle?  : Well, House of Tales didn't have the budget for one. Thank gently caress. : There is no animation for this door opening either. : OK, where is that sonofabitch.: He's sleeping. : You'd better not do that. You're unarmed and he's... dangerous.: Dangerous? The guy's completely nuts! Have you seen his gallery?: Yes, I have. It's gruesome.: Gruesome barely describes it. Did he tell you what happened to the owners?: Yes of course. They're all dead.: He had them all killed. He poisoned them. And can you guess what he used?: (is silent): A tiny poisonous fish?: The copies that our friend McBride had painted for you. He placed little balls of water-soluble plastic on the picture, always just before the pictures were sent back to their owners. And inside these balls was Polonium 185, an extremely unstable radioactive isotope. After 48 hours the humidity released the isotope. It decays within minutes without leaving a trace and is absolutely deadly.: OK, hold on.1. If it decays within minutes, how does it stay in the capsule for 48 hours? 2. If it kills within minutes, how does a film thin enough to be dissolved by atmospheric humidity keep it from killing everyone? Or from being detected, for that matter, because radiation detectors aren't too pricey and are installed in most buildings of national importance just in case. 3. I'm sure, Henston died before the 48-hour period elapsed. 4. Polonium-189, the closest known isotope to this "185" has a half-life measured in fractions of a second. 5. This is obviously inspired by the 2006 polonium-210 poisoning of an ex-FSB/KGB guy in the UK. The difference is, that guy swallowed the stuff. Polonium is incredibly deadly, but most of its effect comes from alpha radiation, i.e. it shits protons. Most humans are well protected from this type of emissions by their skin. You need to bypass it for the full effect. Anyway, let's get this over with. : That... can't be true.: Sorry Cathryn. It's true. They broke into my studio. They prepared the pictures just before they were going to be shipped.: The idea's not a bad one. Using this method he could reach really well protected people. And what's more, still have the original painting as a trophy.: I was right Cathryn. I told you so..: Where do you know all this from?: He told me himself.: And that's Jack last chance to be a detective going down the toilet. He didn't uncover the plan, it was explained to him. : I want to have you killed yesterday. Continuing with the "Jack is a late addition" theory, Cathryn's dad could have been here. He'd be the one who sold Elengi the radioactive poo poo, and now came here (ferrying his car to this one-street island) to stop the murders involving his daughter, and then got captured.: And you Robert? What's he got in store for you?: He wants to hang on to me. I'm supposed to keep working for him. He wants to keep on doing the same deals. With other thieves.: I can't believe that he's really done all that.: You like him? He is a total psycho nutcase. A serious criminal. and you... You're not much better. You're next, on account of your being an accessory. Just so we understand each other.: Is that the thanks I get for getting you out of here?: You also got me in here, sweetiepie.: (is silent) Well great.: I suppose, whoever was ordered to kidnap Robert was passing by again, saw another guy there, and grabbed him too for heck of it.: Yes, absolutely great. And now give me your cell. I need to call Washington.: No, I need it. Mike's waiting for my call. : No... You wait here. I've got to go up and call Mike. I've placed a mine at the petrol station in the village. We'll blow the thing up and vanish out of here.: And how are we going to do that? You suggesting we should swim to Tahiti, maybe?: It's full of soldiers outside. There's a chopper on the roof. We'll take that.: Does anyone know how to fly that?: And we're going to leave that evil swine here? No way. : I'll be back in a minute. : No, not here. The battery will go flat straight away... I have to give him the way through the minefield.: Fine. : Mike! Where are you!: You've got a nerve! We're in a boat. And there's quite a swell, I'm telling you!: Mike, the battery could give up the ghost an any moment, so listen to me.: Have you found McBride..?: Yes, I have. Later, OK? Listen Mike, it's important! : OK!: When you're at the beach, sneak up the path to the petrol station. It's left on the main road.: OK...: There's a mine attached to the left pump. You'll have to fasten your mobile to it... but carefully. One phone call ought to be enough to set it off.: That's not how they work!: You want me to lose my phone?: We don't have any other option. You then have to find your way to the villa. I'll open the gate when the mine explodes and the soldiers start running to the petrol station! Have you got that!?: What if Megabase calls Mike?: Petrol station, telephone, villa. Cool, yep! And now tell us how we get past these damned mines!: OK, now listen... If you head for the large bay, you'll see a rock to the north east...: We can see it..!  : OK, OK... WE'RE THERE!   : Bernard still has lines?: Can you see the soldier? We have to get him out of the way somehow...: Or overcome him.: Who you fooling? I'm not Bruce Lee.: There... He's going...: He's off on patrol.: Right let's go then, Quick! : This epic segment of 15 Days involves walking Mike to the mine. There's no challenge to it. : OK, on three. One... two... : Come on, let's do it... : The final push. Sacrificing the ScummVM phone to the mine.: OK, good... I'm doing it. And then we're out of here. What's going on with the soldier?: I can't see him.: Hope this works. : Right then, now let's go. Off to the villa.  : Wasn't she supposed to open it after the explosion? : My god... What does this guy live like? : Shut up and come on!: Here's a video of the sneaking, because I'm certain this animation was made for just this one scene of the game.   : We're in control of Jack for the very final gameplay section. Our objective is... to walk to the other side of the room. : And... If they don't make it?: (is silent) : Oh yeah? And what makes you so sure?  : Holy crap, I didn't know the game could even render that many characters in the same shot.: Thank god!: OK. Good. Is the telephone is position?: Of course it is. OK and now tell me what's going on here. What... is all this? : Er what..? Cathryn, what does this comedian want from me?: We don't have any time for this nonsense. Bernard: Call Mike's telephone. Now. Mike, run and get the chopper ready. And then let's get out of here.: Mike can fly now?: Just one minute! FIRST we'll...: Too late.    : Bah, great. And now what..?: Now, let's get out of here!: Just a moment please... : Put down the weapon Mr. Elengi.: Mr. Stern. I don't accept instructions from dead men.: You want to shoot us? All of us?: I regret it greatly. Bus as you know: sometimes a man has to do what a man has to do.: Nonsense! You DON'T have to do that. : Is this addressed to Jack?: It was most stimulating talking to you and I like you a lot. If Mr. Odila had informed me some what better about you, then this matter could have turned out rather differently. Do you have anything you still want to say? : Yeah!: As you like.*SMACK! THUMP!*  : He meant me.: What's with this game and knocking people out?: Well done.: I know.: Now let's go. Let's bag him up and take him with us. : Come on you guys, Come on! Onto the roof. We have to get to the helicopter. It's all starting outside. Someone could be here any minute!: What's going on with the pictures?: We haven't got time!: OK, let's go then.  : Look, it's Mr. "Bad Aim" Odila!: Quick!! : Mike pulls out a gun, and the ending starts.     : I believe, this is the only subtitled pre-rendered cutscene of 15 Days. It's done appropriately badly.  : Wasn't Mike supposed to fly? : Dammit, Mike, not this kind of flying. : I've got no idea what Bernard is doing. : Jack is looking busy hitting switches on the chopper's radio.  : Odila's aim stays true... to his idiom. Oh, and the gunshot sounds are out of synch with the flashes. Of course. : Somehow there's a sound of bullets hitting metal. Odila probably shoots the pad repeatedly.  : As we fade out, let's remember all the plot threads left dangling.1. The supply of polonium is not cut. 2. The swapped painting from Paris has probably killed another victim by now. 3. Odila is still at large. 4. Gerard is still selling drugs. 5. Cathryn still hates her dad. 6. Robert is probably irradiated. 7. Bernard, who existed in the plot solely for the betrayal, is still a gambling prick. 8. Mike's ego is still rapidly inflating. Neither the cable car nor the volcano window of the villain's lair played any part in the ending. But at least we've bagged Elengi. Watch the video of the great excape    : What's this? It's the epilogue, of course. With the music from the start of the game. *DOORBELL*  *MORE DOORBELL*  *EVEN MORE DOORBELL*  : What the hell is wrong with Robert?: The cops.*DOOR BANGING* : Open up! Police!: Dammit. You're right.: Door ringing and banging is basically the soundtrack at this point.: Jack grassed us up.: It's his job.: OPEN UP!: What are we gonna do?: Hmm. I'll open the door. : Huh. I told you. Don't trust the cops.: Hey, relax. Is that how you talk to an old friend?: Friend... ?: Maybe we should sit down first. Or do we have to discuss this at the door?: Sure. : What is this crap then? We know our rights, Jack. Save us the lecture.: This is the writer's last chance to save the plot. : Look, there is a message on the machine again.: That's a joke, right?: No joke. Unfortunately your arrests will have to be cancelled.: What..? what happened... ?: Raila Elengi was released two days ago. Military aircraft from the diplomatic service have flown him out of the country. The destination is secret.:  : WHAT... ?: He... hasn't been charged... ?: He's free. It would seem that he has influential friends.: But he...: I know what he did. It looks like he did some special people a favour.: He only killed the British PM. Nothing a blowjob or a gold watch can't get you out out of.: He left a message for you Cathryn. : He would like a picture of you. For his collection. : He wants me dead.: He probably wants all of you dead.: (keeps quiet): (keeps quiet) : (is surprised): Great.: So what do we do now? What are the cops doing?: They'll start looking for you soon.: Pah. That won't take long. They'll only have to read your report.: I've deleted my report and put in for a vacation. I'm gonna rewrite everything. You won't be mentioned. We're gonna delete you from all the systems. We're gonna cover all the tracks.: We?: We. I'm unemployed. I need a new job.: You mean...: A receptionist! Jack is good with phone calls.: (stays quiet): How long have we got?: Don't. Say. It. : AAAAAAH! You motherfuckers! There is that bland first-person shooter/puzzle called Twin Sector, which reveals in the very end that the twin sector is actually the destination for its sequel. Which was never made. Can you see the pattern?  : That was the ending. A cliffhanger with absolutely nothing resolved. And the credits are set to the mumbling song that played when Jack was in the Fine Arts Pub.  Martin Ganteföhr and Stephan Naujoks, you suck. Stay away from writing. Wait, MOTION CAPTURING? Who were the models? The IKEA dummies?  Ah, my bad. I initially thought they'd got some music from the London Eye, but in reality the "original soundtrack" of this game is registered with YouTube for the sake of making some pennies from ads. As if anyone would be dumb enough to LP this crap. I have to admit, the sound design is, indeed, original. Took three people, huh?  Skipping the management part of the publisher credits we proceed to the failures of Localization and Testing.  Why is this in the credits of the English version?  At last. It's over... or is it?   Uh...  What?  No... NOOO!  You know, how after the end credits many games restart and go back to the title screen? 15 Days does the same... only they forgot that there was no title screen and no title menu. The game just starts all over again.  gently caress off, 15 Days. You're done. Here's most of the epilogue, the credits and the seamless looping.  Thanks for watching. Now go and play a better game, like Limbo of the Lost. 
SelenicMartian fucked around with this message at 13:01 on Jan 8, 2015 |
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Dec 20, 2014 18:17
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That was a loving terrible game. This and Lunar: DS.
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Dec 20, 2014 19:14
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I like how Jack was so pointless to this story that the other characters spend the last gameplay section constantly ignoring him or telling him to shut up. Surely his presence here was valuable, nay, vital, to the plot of this game.
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Dec 20, 2014 19:14
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You should be utterly ashamed, Martin Ganteföhr. Pathetic.
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Dec 20, 2014 23:31
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How the gently caress did Jack even end up on the island? God this game sucks.
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Dec 20, 2014 23:48
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Can I stop watching this LP now? Is there truly nothing left in this horrible thing to keep my attention? Please?
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Dec 21, 2014 00:37
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So basically the game starts over only we've got a murderous dictator pissed at us.
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Dec 21, 2014 06:13
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My god this was a terrible game.
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Dec 21, 2014 06:58
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I'm glad I came in time to see this and can join the chorus of  To think I almost played this (I did play the Druid game and it's exactly as bad as you describe it).
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Dec 23, 2014 01:09
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